Born in Rome, Roberta Mameli graduated in singing and in violin at the Nicolini Conservatory in Piacenza, followed by master classes with Bernadette Manca di Nissa, Ugo Benelli, Konrad Richter, Claudio Desderi and Enzo Dara.
She is regularly invited to perform at the most important opera houses and venues: Konzerthaus and Theater an der Wien, Concertgebouw Amsterdam, Cité de la Musique in Paris, Teatro Comunale in Bologna, Maggio Musicale Fiorentino and Teatro La Pergola in Florence, Auditorium of Lyon, Gran Teatre del Liceu in Barcelona, Teatro Regio in Turin, Victoria Hall in Geneva.
She collaborates with conductors such as Jordi Savall, Daniele Callegari, Christopher Hogwood, Diego Fasolis, Jeffrey Tate, Fabio Biondi, Claudio Abbado, Federico Maria Sardelli, Ottavio Dantone, Ton Koopmann, Ryo Terakado, Jean-Luc Tingaud, Leonardo García Alarcón, Claudio Cavina, Jean-Christophe Spinosi, the late Alan Curtis.
Much in demand for Early Music repertoire, Roberta works with several ensembles on period instruments such as Complesso Barocco, Capella Cracoviensis, Accademia Bizantina, Le Concert des Nations, La Venexiana, Modo Antiquo, Europa Galante, Stuttgarter Kammerorchester, I Barocchisti, Cappella Mediterranea, L’Arte del Mondo.
One of the finest Monteverdi interpreters of her generation, she performs Nerone and Poppea (L’Incoronazione di Poppea), Minerva (Il Ritorno di Ulisse in patria) and La Musica and Euridice (L’Orfeo). She had great personal success singing Poppea with Diego Fasolis and the Akademie für Alte Musik Berlin in 2018 at the Berlin Staatsoper.
Roberta Mameli has appeared in numerous Baroque operas including Purcell’s Dido and Aeneas (Belinda), Vivaldi’s Catone in Utica (Cesare), Leonardo Vinci’s Didone abbandonata (title role) conducted by Carlo Ipata and Rameau’s Indes Galantes (Amour/Zaïre) in a Leonardo García Alarcón/Lydia Steier production at the Grand Théâtre de Genève.
She sang Handel’s Orlando (Angelica), Alcina (Morgana) and Serse (Atlanta). She was seen on stage as Ginevra in Ariodante at the Drottningholm Festival and embodied the the role of Aci in Aci, Galatea e Polifemo both at the Bucharest George Enescu Festival and London Wigmore Hall.
Among her Mozart roles are Vitellia (La Clemenza di Tito) at the Teatro del Maggio Musicale Fiorentino, Aminta (Il Re Pastore) at La Fenice, Susanna (Le Nozze di Figaro), Donna Elvira (Don Giovanni) and Dorabella (Così fan tutte). She was Arminda in La Scala’s production of Mozart’s Finta giardiniera led by Diego Fasolis for the Shanghai Grand Theatre.
Under the baton of Enrico Onofri, Roberta appeared in Haydn’s Isola disabitata as Costanza with the Orquesta Barocca de Sevilla and as Zelmira in Armida accompanied by the Haydn Philharmonie in Eisenstadt.
She is a regular guest of the Music Festival Potsdam Sanssouci where she performed Melani’s Europa and works by Scarlatti and Bononcini with a revival in Bayreuth and Wiener Konzerthaus.
Her discography contains L’Incoronazione di Poppea (Naïve), Il Ritorno d’Ulisse in patria by Monteverdi; Artemisia by Cavalli (Glossa); Il Diamante by Zelenka (Nibiru); La Scola de’ gelosi by Salieri (Sony DHM) and the following works by Vivaldi: Teuzzone, Orlando Furioso 1714 (Naïve), Il Farnace, L’Incoronazione di Dario (Dynamic). Moreover, she released several solo albums among which “Round M: Monteverdi meets Jazz” (Glossa) and “Anime Amanti” (Alpha) awarded with the prestigious Diapason d’Or 2017.
Recent and future projects include Puccini’s Rondine (Lisette) and F. Vacchi’s Jeanne Dark (Agnese) both at the Florence Opera. She sings Pergolesi’s Stabat Mater with the baroque orchestra PRJCT Amsterdam at the Concertgebouw Amsterdam among other cities, but also with AKAMUS in Moscow, Paris La Seine Musicale, Essen, Gdansk… Still with AKAMUS, Roberta performs Graun’s Orfeo (Aristeo) at the Barocktage of Staatsoper Berlin followed by concerts in Bayreuth, Wigmore Hall London, Riga, Basel and Bielefeld. She gives a recital with the Bayerische Kammerphilharmonie for the Deutsches Mozartfest Augsburg.